Playing With & For The Community
Jacqui Rae explores sculpture in a non-conventional way, a method artists use to challenge favoured mediums. Called ‘insert title’ and presented at Old School from 18th to 27th October 2008, the work plays upon the idea of impermanence. Jacqui Rae shares with SCYA her input on the artwork in an email interview.
Young artists explore various means to experiment and communicate their art and message. In the case of Jacqui’s sculptural exploration, the metaphors incorporated in her work are interesting topics of concern.
The use of ceramics, flour and talcum give rise to questions about whether it is justified to categorise the work as sculpture. Leaving her viewers with questions (and possibly those who read this interview as well), SCYA explores this little known artist.
Tell us about the installation and how it started.
The installation is based on the idea of two key points which is memory, and the contradiction between its ephemeral and ineradicable qualities. It started with first challenging the idea of sculpture and the stereotype of it usually being a single monumental work that is rooted in permanence, and was caught in a flicker of self-reflection, hence, the use of thinly rolled ceramics, flour and talcum.
The choice of the colour white.
I wanted to keep everything as white as possible to make the audience oblivious of its presence, allowing the work to creep up on you and open itself up to you bit by bit, like the recollection of a memory.
The first time this work was presented.
The first time I did this, was for my final assessment, and it was accompanied by a haunting audio track of ceramic pieces being broken and walked on, like biscuits.
Well, it was my first time including sound into my work, as I mostly work with just the physical pieces and lighting. It has always amazed me how much sound affects our perception of reality and changes it. The choice of listening to them break is like a subliminal confrontation. You hear it, but when you hear it repeatedly, it gets stuck in your head and starts messing with you. The idea of the assessment was that it was a bit more focused on the idea of fragility, and the harshness of not being able to fix it, the vulnerability. The second time I showed it, I wanted it to be more pleasant, and a contemplative piece.
In relation to the community.
We live in a small space, and there is barely any physical distance between anybody but the relational distance is phenomenal. I was told once that the physical change of the landscape is reflected in our minds, that it moves so fast, we can barely register to recollect. This is perhaps one of the factors that lead to this memory loss. Someone else also said to me once, that what we do and say is the physical manifestation of the true nature of our overflowing hearts.
Jacqui would love to tour this work around Singapore and worldwide. She is currently working on a mysterious project that could possibly be axed if she jinxed it by revealing. Email firstname.lastname@example.org if you’d like to work with Jacqui.